Immediately before working for Enrico Scrovegni in Padua, Giotto served Boniface VIII as painter to the papal court in Rome and was in Rome for the Jubilee in 1300 before moving to the Veneto.1 Without any extensive written documents on the chapel’s gestation or preparatory drawings, modern scholarship mostly takes the precise correspondence between illusionistic frescoes and architecture in the chapel as testimony of Giotto’s direct involvement with its design, planning, and construction.